Peter Debruge

That rare Princess whose wishes do come true, Montgomery’s what is known as a “genuine discovery.”

The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future.

In the end, “Memory” isn’t terribly convincing, but it’s at least trying for something more serious than most.

In the era when content is king, Sam Mendes still believes in moving pictures. Empire of Light is the proof.

However immature Sandler’s sense of humor may have been in the past, he seems to have a pretty good handle on what makes kids tick. The movie can be making potty jokes one minute and delivering practical advice the next, wrapping with the sensible suggestion to “find your Leo.”

Chang Can Dunk doesn’t go the way you’d expect, and that’s a good thing.

This rich, beautifully rendered film boasts an arrestingly soulful performance from Marion Cotillard.

Three Burials is beautiful, authentic and brutally observant of human nature. With real Tex-Mex backdrops instead of the usual Monument Valley vistas and characters too complex to withstand simple white-hat/black-hat reductionism, Three Burials is a visionary portrait of the New West. This is the terrain of Eastwood and Peckinpah, saddled with the concerns of 21st-century life.

Typically, we look to adrenaline-fueled entertainment for catharsis. Boyle’s thrilling reboot offers enlightenment as well.

If necessity is the mother of invention, then DreamWorks’ desire to extend the Dragon franchise has propelled the creative team in the most admirable of directions, resulting in what just may be the mother of all animated sequels.

Somehow, in accentuating Wiseau’s weirdness, Franco overlooks his soul.

There's enough estrogen gone awry in this bitchy teen comedy to make "Mean Girls" look like a Disney after-school special.

Everything in Red Rocket happens just a little too easily, which is one of the weaknesses of a self-indulgent regional satire that stretches its perhaps-80-minute plot over more than two hours.

Embracing the patient, poetic style of such Japanese masters as Ozu and Mizoguchi, Hosoda sees no need for the manic energy and manufactured conflict of other recent toons.

We’ve heard the same lesson countless times before in other movies, and though it’s certainly impressive to see Conor’s anxieties manifest themselves in such a stunning Ent-like being, as monsters go, Bayona’s creation is all bark and no bite.

It takes a special kind of imagination to recognize the entertainment potential trapped in such a mundane scenario, and an incredibly resourceful filmmaker to spin it into as much fun as Daly does here.

A lean but revealing film of unexpected existential heft.

There’s not a dull shot in the entire movie, which is remarkable, considering how little actual action Heineman films.

Like all things Celine Dion, “I Am” feels intensely personal and sincere, but also managed to within an inch of its life.

At times, A Cop Movie seems unnecessarily convoluted in its structure, but by the end, the brilliance of its design becomes clear: This is nothing short of an existential inquiry into what it takes to be a cop.

A spunky yet surprisingly sad portrait of a sexually liberated man held captive by his past, forever chasing and trying to rewrite his own legend.

Sure, it’s fun to see a movie skewer the vapid soullessness of social media and the unregulated economy of male desire, but Zola ultimately rings hollow. The actors are fearless, and yet, how much do we know about these characters in the end? The answer: something of their values, but almost nothing of their lives.

The conflict at the core of the WikiLeaks saga is dramatically lacking.

Nichols’ impressively restrained yet limitlessly imaginative fourth feature takes its energy from an ensemble of characters who hold fast to their convictions, even though their beliefs remain shrouded in mystery for much of the journey.

Spa Night serves as an homage to the sacrifices first-generation immigrants made in order that their children could achieve their full potential in the States, expanding the concept of “pride” far beyond its protagonist’s gay identity.

Brothers takes a scenario as old as Genesis – two jealous siblings spar over the affections of the same woman – and renders it fresh and immediate, by virtue of the warm, almost maternal, generosity director Susanne Bier shows her characters.

Mendonça crams the film with vivid time-capsule details.

You don’t have to be a “dog person” to find these two irresistible, although those with a soft spot for animals may be surprised by how deeply attached they get over the course of the film.